Andrew Chapman Creative: How to Make Vocal Sessions Not Suck (and Maybe Even Win Stuff)

Let’s get one thing straight: you can own all the boutique gear in the world, but if your artist feels like they’re in a dentist’s waiting room, your session’s dead on arrival. Andrew Chapman Creative kicks off by torching the myth that gear is everything, hammering home that performance is king and comfort is the secret sauce. Forget compressor settings—if the singer’s tense, your track will sound like it was recorded in a broom cupboard.

Chapman’s advice is refreshingly blunt: be a good hang. That means showing your artist where the loo is, keeping your hands off the gear for the first minute, and actually talking to them like a human. Some want to dive in, others need to chill—so read the room and follow their lead. It’s not just about getting a better take; it’s about making the whole process less of a toaster-fight and more of a jam session. Repeat clients? That’s just the bonus round.

Now for the gear heads: Chapman doesn’t shy away from the kit, but he’s not here to sell you snake oil. He runs two mics—the Dachman Audio DA67 with a vintage Telefunken tube, and the DA87SE—no sponsorship, no affiliate hustle. The DA67 gets paired with the A-Designs P1 preamp for warmth and smoothness, while the DA87SE goes through the Chandler TG2 for a bit of top-end sizzle. Each combo is chosen for how it shapes the vocal, not just for brand bragging rights.

The breakdown is practical: the DA67/P1 setup keeps things smooth and open without getting harsh, perfect for taming sibilance. The DA87SE and Chandler TG2, on the other hand, add brightness without turning the top end into a cheese grater. Chapman’s tested these chains on his own voiceovers and gets compliments every time. It’s not about chasing vintage unicorns—it’s about matching the right tools to the right voice.

Mic placement isn’t just a dark art—it’s half the battle. Chapman demonstrates how a simple hand test can reveal where those pesky T’s and S’s are firing, and how angling the mic can save you hours of de-essing hell. If your sibilance is out of control, just raise the mic and tilt it down. No need for plugin voodoo—just physics and common sense.

Proximity effect? Chapman keeps it real: six to eight inches is the sweet spot for most rock vocals, but it’s all taste. Get too close and you’ll drown in boom and breathiness, especially after compression. He even drops a pro tip: use a pop filter on a separate stand as a visual marker to keep your artist in the zone. And when it’s time for gang vocals, flipping the DA67 to omni and moving bodies around the mic creates that big, room-filling sound. If you want to see the real difference, you’ll have to watch the video—words can’t do justice to the sonic chaos.

Here’s where things get spicy: Chapman throws down the gauntlet with a full-on mix competition. Download the multitracks (no Patreon paywall), flex your mixing chops, and you could snag prizes or even land your name in the song credits. There’s talk of headphones, interfaces, maybe even cooler swag if the stars align.

It’s not just a vanity contest—if your mix slaps, it could end up on streaming platforms. But don’t get cocky; the band has final say. Either way, it’s a killer chance to test your skills against the internet’s best (and worst). Check the pinned comment for updates and get ready to enter the sonic street fight.